Entertainment
‘Soda Pop’ Choreographer Lee Jung Says She’s Ready to Move From Saja Boys to BTS After Success of ‘KPop Demon Hunters’
KPop Demon Hunters has shattered records once again. After becoming the most-watched film in Netflix history, standout track “Golden” went on to top the Billboard Hot 100 chart (for three weeks so far). As a film centered around K-pop, this is more than just a box-office milestone; it’s a landmark in the history of the genre itself.
‘Golden’ Choreographer Jo Na-In ‘Stunned & Thrilled’ That ‘KPop Demon Hunters’ Song Topped Hot 100, Wants to Work With Lady Gaga Next
RAYE Plays Herself & Covers a Jazz Classic 'Whilst Staring Into Jason Bateman's Eyes' in New Netflix 'Black Rabbit' Series: See Photos
So why has this film resonated so strongly? This can be understood in the same context as K-pop’s global popularity. Throughout its evolution, K-pop has consistently maintained a balance between music, performance and choreography. Performance videos have become almost mandatory alongside K-pop music videos, and every comeback promotion is accompanied by a dance challenge. K-pop is never just the music — it is the music with performance. In the same way, K-Pop Demon Hunters immersed audiences in the visual thrill of choreography fused with music, proving once again the unique power of K-pop performance.
Early in the film, the entrance of HUNTR/X with their track “How It’s Done” shows them skydiving from a plane — an unreal premise matched with daring choreography that instantly pulls viewers into these new characters. Meanwhile, Saja Boys’ “Soda Pop” became a hidden driving force behind the film’s popularity, with its choreography gaining momentum as K-pop idols successively joined the challenge.
Billboard Korea sat down with Lee Jung — choreographer and dancer from THE BLACK LABEL — who created the moves for both “How It’s Done” and “Soda Pop.” Radiating conviction with every word, she said: “The more I dance, the more certain I feel. I really love the phrase ‘Choreography by me’ — it makes me feel alive.” Through conversation with Lee, we gained insight into her global view as a choreographer born in Korea and witnessed the remarkable dedication of creators that sheds light on why K-pop is cherished worldwide.
You mentioned that you were deeply impressed from the very first meeting with the production team.
So much so that the feeling lingered with me for days. At that first meeting, everyone passionately explained why they wanted to make this film, why they needed me, and what they hoped to convey. The energy in their eyes was undeniable. Maybe it’s an optimistic way to think, but I believe when creators speak about their work with that kind of spark, the result can’t help but be great. The moment I heard them, I thought, “I have to do this, and it’s definitely going to succeed.”
Did that conviction grow as the project went on?
Absolutely. After several meetings, I received the music — and it was incredible. That only made my certainty stronger. To work with visionaries was already a blessing, but to have such quality music as the foundation for my choreography… every moment felt like happiness, and it reaffirmed my belief: When someone has that kind of conviction in their dreams, they can’t help but succeed.
The animation format seems to have unlocked even greater imagination in “How It’s Done.”
I remember the meeting vividly. The team told me, with bright eyes, “Imagine the members skydiving from a plane and landing in the concert venue.” In that moment, I felt like I wanted to become someone without limits. The most important part of any stage is how you appear, and with HUNTR/X literally leaping from the sky, the entire scene was already complete in my mind. That’s why the choreography came out more explosive and daring than usual. It wasn’t just adding intensity — it was channeling my full energy and imagination into movements that felt like flying. Even now, recalling it gives me goosebumps.
What was the biggest lesson you took away from a project with so many creators involved?
The countless hours of motion capture across the U.S., the repeatedly refined choreography and music, the character design and storyline — every piece contained someone’s hard work. So many people truly staked everything on this project. I was just one small part, and it was only possible because everyone’s energy came together. Watching that process made me want to someday be the kind of person who can pass along that same energy to others.
You once said: “Street Woman Fighter was the 20-year-old Lee Jung, LISA’s ‘Money’ was the 25-year-old Lee Jung.” By that measure, what does KPop Demon Hunters represent for you?
It’s the three-year accumulation of who I am now. Even though the clip is less than a minute long, it contains all my training, experiences and growth compressed into it. For me, it’s more than just choreography — it’s a record of pride and time itself. And one more thing: Animation is a medium that becomes a lasting memory for someone’s childhood. The fact that K-pop was chosen as its subject shows just how far its influence has grown.
On Mnet’s World of Street Woman Fighter, your choreography for Saweetie’s mission especially stood out when you emphasized the “K-pop sensibility.” In your view, what defines K-pop’s distinctive style?
When the global teams watching our choreography during the mission said, “This really feels like K-pop,” that’s when it hit me: K-pop has truly become a genre of its own. Of course, it’s not easy to logically define the characteristics of a genre — but that’s the nature of art. If someone can recognize it at a glance and say, “That feels like K-pop,” I believe that’s enough. If I may carefully add one more thought, I think what creates that unique sensibility is our “ethnicity.” The linguistic and cultural traits unique to Koreans, along with our rapid pace of development, have all come together to shape K-pop into a genre that resonates globally. In that sense, I feel an immense sense of pride as a Korean.
In K-pop, where visual performance is crucial, what makes for good choreography?
For me, the standard is simple: Good choreography is just really good choreography. It might sound vague, but it’s also the hardest standard to meet. Each year, we must satisfy countless viewers — and if the result elevates the song itself, that’s enough. A good routine must connect seamlessly to the song’s message, communicate intuitively, and still bring something fresh. Striking that balance is difficult, but it’s the choreographer’s task every season.
What do you think makes your choreography distinctive?
I honestly think my work is… tasty. [Laughs] It’s not a lofty phrase, but it captures what I strive for. I always push myself to the point where I feel, “I couldn’t possibly make this better.” When an artist performs my routine and it reaches that undeniable peak, that’s my goal.
Among your past works, which project remains most memorable?
LISA ’s “Money.” It kept the essence of K-pop choreography while breaking molds and trying something new. When I have conviction, choreography comes quickly — and this one I finished in a single day. For me, it reached that level of “no one could do it better.” Thankfully, many agreed, and it earned me the best choreographer award at the 2021 MAMA. Since it was my first win, it remains especially meaningful. And of course, LISA performed it brilliantly.
You’ve said collaborating with various K-pop artists inspires you as a dancer.
Yes. These are people whose jobs involve dance, yet they approach it with such sincerity and passion — sometimes even more than I do. I’ve always seen myself as someone who never slacks, but their energy sometimes astonishes me. In those moments, I realize, “Compromise will never be part of my life.” That drives me to keep pushing forward.
When working with artists with such strong identities, how do you communicate?
I always start by asking what message the song wants to convey. Then I ask the artist how they want to express it. If direct conversation isn’t possible, I check through their company. “How do you want to present this track?” That’s the starting point. I build my interpretation on top of that. Ultimately, the key is finding the shared common ground between the artist, the songwriter, and myself. Once we find it, the choreography comes alive on its own.
Your scope of activity keeps expanding. How would you define yourself now?
I don’t want to be confined by definitions. I’d rather not limit myself to a single word. My biggest question now is: How far can I go with dance? That keeps me excited about my future. I believe I can go beyond even what I imagine.
From your position within K-pop, why do you think the world loves it so much?
One word: conviction. Every artist I’ve worked with had immense self-belief. They have clear visions, never settle, and keep reaching for more. When such people gather, fans can feel that conviction and energy too. That’s why K-pop keeps growing — and why Korean culture has no reason to stop evolving.
You lived in the U.S. during middle school. How has K-pop’s presence changed since then?
It’s incomparable. Back then, it was the time of “Gangnam Style” — a massive global craze. Yet I still had to explain to people who the artist was, where they were from and what K-pop meant. Now? Not at all. When you say “K-pop” or “Korea,” no explanation is needed. “K” itself has become a brand.
Which global pop artist would you most like to collaborate with on choreography?
BTS. I believe BTS have transcended being just a K-pop group to become something even greater. Collaborating with international artists would of course be meaningful, but when we talk about global music, there’s really no reason to exclude K-pop from the conversation. BTS are the ones who have preserved the identity of K-pop while simultaneously expanding its presence on the global stage. Since I also want to be a creator who proves that K-pop is global, I especially hope to create a stage with them one day.
And what’s next for you?
I’ll always go beyond what anyone imagines of me. [Laughs]
CNCOwners, rejoice! Erick Brian and Christopher Vélez have joined forces on a new single called “Bajo Cero” (“Below Zero”) out Thursday (Feb. 5) via Warner Music Latin.
Backed by a suave Afrobeats rhythm and urban undertones, the former CNCO members sing about a fractured relationship and pushing their feelings below zero to survive the heartbreak. “I’d better put my feelings on ice/ This isn’t going to happen to me again/ You made me feel like an idiot/ made me believe I was the only one,” goes the heart-wrenching chorus.
On the track, Erick, 25, and Christopher, 30, not only showcase the bromance that kicked off more than 10 years ago, but also their emotionally rooted and melodic harmonies powered by their dulcet vocals.
“Bajo Cero” comes four years after CNCO — formed in 2015 by Erick, Christopher, Richard Camacho and Zabdiel de Jesus (in addition to Joel Pimentel, who left in 2021) — announced their split in 2022 after nearly seven years as a group. As part of the boy band, both the Cuban and Ecuadorian acts earned multiple hits on the Billboard charts, including three No. 1 albums on the Latin Pop Albums chart, such as Primera Cita that spent eight weeks at the top in 2016.
In fall 2024, Billboard exclusively announced that Brian launched his solo career under an exclusive deal with Warner Music Latina and Big Bad Wolf Management Group, and last year, he dropped his debut EP called BTW…Lo Intenté (By the Way, I Tried). Vélez, on the other hand, has been releasing music independently since 2025.
Both men first hinted at their reunion in a Dec. 30 Instagram post that showed them having a jam session together. Leading up to the release of “Bajo Cero,” they have shared various posts of the two at the recording studio.
Watch the music video below:
Entertainment
Bad Bunny & Megadeth’s Big Week: How One Company Helped Power Both Acts to Chart-Topping Success
It’s been a good week to be The Orchard. Sony’s industry-leading distribution division — which finished 2025 with an eye-popping 8.44% current market share, by far the largest of any distribution company in the U.S., according to Luminate — is behind two of the most talked about albums of this week: Megadeth’s self-titled final release, and Bad Bunny’s all-conquering DeBÍ TiRAR MáS FoTOS.
For Megadeth, the trailblazing metal band led by Dave Mustaine, this week’s release doubles as an exclamation point on its career: After 40 years of rocking faces off around the world, the group is singing off with one last album, and in the process has nailed its first-ever No. 1 on the Billboard 200, having racked up 73,000 equivalent album units in the United States — 69,000 of which came from pure album sales, with 56,000 of that coming from physical units. Ahead of a career-spanning documentary release and a final farewell tour, it’s a fitting capstone for one of the most iconic metal acts of all time.
On the Bad Bunny front, little more needs to be said. The Puerto Rican superstar made history on Sunday night (Feb. 1) by winning album of the year at the Grammys, with DTMF becoming the first-ever album performed entirely in Spanish to earn that honor. If that’s not enough, he will also take the world’s largest stage this coming Sunday (Feb. 8), as he gears up for a headlining performance at the Super Bowl LX Halftime Show, a major career milestone in and of itself. Accordingly, DTMF is primed to surge up the charts once again, after its initial No. 1 debut in January 2025.
Working across both those releases has been The Orchard’s executive vp of commerce, Mary Ashley Johnson, who oversees strategy at the company. And with those twin successes, she earns the title of Billboard’s Executive of the Week.
Here, Johnson talks about the strategy behind each album’s rollout, how much it means for Megadeth to finally top the main albums chart after so many years, and what Bad Bunny and Megadeth’s successes say about The Orchard. “I think what I love the most about this week is that these successes really represent who we are as a company, because it crosses all genres and languages and borders,” she says. “And that’s the thing that I’m the most proud of: being able to put wins on the board that really fit all over the place, versus just in a mainstream box.”
Related
This week, Megadeth earned their first No. 1 album in their 40-year career with their new, self-titled album. What key decisions did you make to help make that happen?
We partnered with the Frontiers label and really tried to lean into Megadeth’s authentic fan base, and really tried to amplify those fans. And as you can see in the data, the majority of those sales happened at physical retail, and so just working in partnership with physical retail through various touchpoints to have different versions available, through each independent and major physical retail sector. And D2C was a huge driver, too.
With so much of it being driven by physical, what was the strategy behind that?
We really tried to just pull all the different levers of physical and then have just this autonomous option for fans of where to buy. We didn’t offer crazy different colors or variants; we did have different colors and variants, but we tried to just keep it incredibly authentic to who the band is and what their voice was, and not make it that we were asking fans to buy multiple copies to get all of the content.
This being their final album, did that give you guys any extra incentive to deliver?
Oh, absolutely. And I think for us, we wanted to make sure that we were leaning in and delivering for Frontiers. This was a big moment for the band — they’ve never had a No. 1, and that was something that we aggressively chased to try to achieve with them.
There’s also a documentary, and they’re about to go out on their farewell tour. How does that all play together in what you guys are doing and your strategy to go for that No. 1 album?
I think that the throughline that we look at, and it’s kind of drawing the parallel between Megadeth and even Bad Bunny, is that we really wanted to activate their community. It really is authentically speaking to and amplifying that community of their fans, and it all comes back to community with Megadeth, and also with how everything comes back to Puerto Rico and his community with Bad Bunny. And I think the throughline for the week for us was really trying to authentically tap into their audience and community.
What goes into that work of finding that community, identifying what they are looking for, and then delivering for that?
We lead with our data and technology tools at The Orchard, and then we leverage all of the different departments, whether that’s global D2C, digital, physical, radio was a key component in all of this, ad sales, brand partnerships — we really do leverage all of those. But then we also lean in with tools on digital advertising and audience development, and a lot of the proprietary Orchard tools that we use internally, and all of those teams working in collaboration together.
For Megadeth to get this first No. 1 after four decades, what’s the significance of something like this for you and for The Orchard?
It’s monumental. There are people on the team who have been Megadeth fans their whole life, and they had Megadeth posters hanging on their walls. I’m getting emotional about it — it becomes emotional for all of us. I’ve been at Sony, in May it will be 32 years. So being able to have an artist like Megadeth break through and achieve that No. 1 in this climate is incredibly fulfilling and rewarding. And I think it’s what we try to do here at The Orchard, is empower these creators and these entrepreneurs to really dig in and mobilize their fans. And I feel like that’s what we all did collectively. I don’t want to say it’s an Orchard win — it really was us working in tandem with Frontiers, the label. And then it all starts with the music. And, you know, if the music wasn’t good, we could have all of the strategic vision in the world and all of the data and tools, and it wouldn’t mean that much. So it really does start with Megadeth delivering an incredible album.
Related
You guys also distributed Bad Bunny’s DeBÍ TiRAR MáS FOToS on behalf of Rimas. That was such a major, massive album for him in so many different ways. When you think back about that campaign, what sticks out to you as having been particularly successful?
Again, I feel like a broken record talking to you, but we celebrated the one-year anniversary of that album in January, and he is so authentic to who he is, and we provide a lot of strategy and suggestions and are there to support the label, but at the end of the day, he’s not making any moves for a chart play or a revenue play. He’s doing what is right for him and his vision for that music. And so talking about it all starts with the music. That was an incredible album, the first all-Spanish-speaking album to win album of the year, and then for him to go into the Super Bowl, that just goes to who he is as an artist.
He was very vocal on the Grammy stage about the political climate. He takes such a stance, and he’s so incredibly passionate about Puerto Rico and his fans, and his music speaks to that, and so that’s what we’re here to amplify. So I think if anything, our job varies depending on the client and the partner. And sometimes we lean in, and we have to create physical variants and mobilize D2C and certain things, and then other times we just have to be very nimble to support his vision. And that’s what we do best at The Orchard.
This is the first time that somebody is coming from winning album of the year at the Grammys to going straight into the Super Bowl Halftime Show, arguably two of the most high-profile things that could happen for an artist. How do you take advantage of that?
Very true to who Bunny is, it’s all very authentic. We are launching a white vinyl for global retail on Friday, and we relaunched the blue D2C a couple weeks ago, we had the red Amazon vinyl, and yes, those are the three colors of the Puerto Rican flag. But that’s really it. He’s not looking to throw out a bunch of variants and have a chart play. He really wants his music to speak for what it is, and I really respect that about him and the label. The label respects his vision, and that’s what we’re all here to really empower and support and amplify — his voice and his vision.
Related
What are you looking forward to seeing him do on Sunday?
It’s going to be the most exciting 13 minutes. I cannot wait. We’ve been joking about [not knowing] what teams are even at the Super Bowl. I think the Seahawks and the Patriots will be there, too, but most people are just like, “It’s Bad Bunny.” I do love to see that, and I do think that this shows the power of the Spanish language and the growth of Latin music here in the U.S. and across the mainstream. And I would be remiss to not bring up our DSP partners and the way that they really rallied around Bad Bunny and around an all-Spanish-speaking album and have given him incredible mainstream pop looks that we wouldn’t have been able to garner without their support.
It really is a privilege to lead such an incredible team. Ultimately, it really is a team win for us. And I do feel like The Orchard has the best team in the business, not just in the indie sector, but across the entire industry. And I think from all the different touchpoints that we are able to deliver a global plan and a global launch, that really is important to us. The U.S. is incredibly important — it’s our largest market — but the global vision has always been critical for who we are as a company. So I think that talking about these two wins, from Megadeth to Bad Bunny, it is the pure ethos of who we are as The Orchard.
Entertainment
Mary J. Blige Talks ‘Be Happy’ Movie, Vegas Residency & Bad Bunny’s Super Bowl Performance: ‘Timing Is Everything’
This Valentine’s Day, all Mary J. Blige wants is for everyone to “be happy.”
Normani Stars in 'Sports Illustrated' Swimsuit Issue With Brittany Mahomes & More NFL WAGs, Says Beyoncé Is Her Dream Collab: 'She Is Her Standard'
On Saturday (Feb. 7), the nine-time Grammy winner will team up with Lifetime for the premiere of Mary J. Blige Presents Be Happy, a new romantic dramedy inspired by her 1994 Billboard Hot 100 top 40 hit of the same name (No. 29). Anchored by a cast including NAACP Image Award-winners Tisha Campbell and Mekhi Phifer and SAG Award nominee Russell Hornsby, the film uses Blige’s classic to explore a story of reinvention, intimacy and the new midlife paths that lead women to rediscover parts of themselves and radically reshape their futures.
“When I was recording these songs, they were movies,” Blige tells Billboard. “I was living ‘Real Love.’ Even if I didn’t go to college, I was searching for a real love. With Be Happy, she’s in a marriage, and she’s trying to figure out where she fits and what her purpose is now because her marriage is fizzling out, and it’s now time to reinvent, not be stuck and move forward. That’s been the story of my life: reinventing. Not because somebody wants me to, but because it’s where life takes me. And people love a wholesome movie about love and change; that’s what my songs represent to people.”
Marking the fourth collaboration between Blige and Lifetime, Be Happy is helmed by Academy Award-nominated actress Gabourey Sidibe (Precious) in her directorial debut. Cameron J. Ross, who previously worked on The Summer I Turned Pretty, penned the script, while additional producers include Bruce Miller, Milana Edwards Brooks, Mona Scott-Young, and Angela White. In 2023, Blige and Lifetime teamed up for Real Love and Strength of a Woman, following those films with Family Affair in 2025. Be Happy is the first film in their collaboration to not feature the trio of Ajiona Alexus, Da’Vinchi and Princess Davis, who all starred in the first three Blige-inspired movies.
No stranger to the film world, the R&B icon earned a pair of Oscar nominations (best supporting actress and best original song) for 2017’s Mudbound. From 2020-2024, she starred in the Starz crime drama Power Book II: Ghost as the fan-favorite Monet Stewart Tejada, winning two NAACP Image Awards for her performance.
Blige’s new film arrives a few months before she heads to Sin City for her first-ever Las Vegas Residency. Dubbed ‘Mary J. Blige: My Life, My Story The Las Vegas Residency,’ the show will kick off May 1 at Dolby Live at Park MGM, with 10 dates scheduled through July. “People have been asking me to do a residency for years, and now I’m ready to go sit in Vegas,” she said, later joking that she’s most excited about “not getting on a plane or a bus” like she’s had to for larger-scale tours.
Last year, the Queen of Hip-Hop Soul earned the No. 5 highest-grossing R&B tour of 2025 with her arena-headlining For My Fans Tour, pulling in $37.1 million from 270,000 tickets sold. The three-hour R&B spectacle, which also featured sets from Mario and Ne-Yo, covered a large swath of Blige’s sprawling catalog, though her underrated 2014 London Sessions project was relegated to the bench.
“I’m working on it. I have so many records. And a lot of Mary J. Blige fans don’t know The London Sessions,” she said. “I love [that album.] I went to London and stayed out there for a month or two to get it done. But just because I love something doesn’t mean all the fans are ready. Hopefully, one day they’ll explore it!”
Be Happy also hits screens one day before Super Bowl LX (Feb. 8), where Bad Bunny will headline the Apple Music halftime show. Blige played the 2022 halftime show alongside Dr. Dre, Snoop Dogg, Eminem and Kendrick Lamar, earning an Emmy Award for outstanding variety special (live). Even though she’s already conquered that stage, the “Be Without You” singer says she doesn’t have any advice for the Puerto Rican powerhouse.
“I think he’s got it! He performs to trillions of people; everybody goes to a Bad Bunny show,” she gushed. “So I think he’s going to kill it. It’s going to be great!”
Produced by Blue Butterfly Productions, Monami Productions, Motion Entertainment and Swirl Films for Lifetime, Be Happy premieres Saturday, Feb. 7, on Lifetime at 8:00 p.m. ET.
Watch the official trailer for Mary J. Blige Presents Be Happy below.
Why 72% of Americans Now Depend on This Type of Income to Survive
How Trust, Emotions and Chemistry Are Reshaping the American Workforce in 2026
How to watch the 2026 winter sports biathlon online for free
How I Paid Off My Mortgage 10 Years Early On A Teacher’s Salary
Black Lives Matter Activist in Boston Pleads Guilty to Federal Fraud Charges – Scammed Donors to Fund Her Lifestyle
Get a lifetime subscription to the “ChatGPT for investors” for under $60
-
Business5 months ago
How I Paid Off My Mortgage 10 Years Early On A Teacher’s Salary
-
Politics5 months agoBlack Lives Matter Activist in Boston Pleads Guilty to Federal Fraud Charges – Scammed Donors to Fund Her Lifestyle
-
Tech5 months agoGet a lifetime subscription to the “ChatGPT for investors” for under $60
-
Tech5 months agoReview: The Dreame H15 Pro CarpetFlex is the first wet/dry vacuum I liked
-
Business5 months ago
25 Low-Effort Side Hustles You Can Start This Weekend
-
Business5 months ago
9 Ways to Command a Six-Figure Salary Without a Bachelor’s
-
Entertainment4 months agoFat Joe Recalls Bruno Mars Snapping on Him Over Question About Puerto Rican Roots: ‘Broke My Heart’
-
Business5 months ago
25 Side Hustle Jobs With Great Pay